Krysta Rodriguez obtained her first have a look at New York City via the home windows of the motor residence that was ferrying her household across the nation on an prolonged street journey. Along the way in which, there was a cease to soak up a present — the 1990 Broadway revival of “Fiddler on the Roof.”
“And that set me on the path to where I am today,” mentioned Ms. Rodriguez, now 36, whose CV consists of the musicals “Spring Awakening” and “The Addams Family,” in addition to quite a lot of tv collection, amongst them “Smash” and “Quantico,” and Netflix productions just like the post-apocalyptic comedy-drama “Daybreak” and the five-episode bio-drama “Halston,” which debuts on May 14.
Ewan McGregor stars as the style designer whose minimalist cashmere and Ultrasuede ladies’s put on turned synonymous with 1970s magnificence, and whose hard-partying methods turned synonymous with ’70s decadence. Krysta with a Y performs Liza with a Z, certainly one of Halton’s finest pals.
Ms. Rodriguez, who lives in a two-bedroom condominium in Harlem, has designer chops of her personal. “My mom is a realtor in California, and I’m her decorator,” she mentioned. “When I was growing up, we would buy and renovate houses and sell them, which I didn’t love because it always meant that you were moving into the worst house in the neighborhood, and then leaving the best house. It wasn’t great for status at school.”
She added: “But then I found myself decorating everywhere I went.”
Krysta Rodriguez, 36
New levels: “I’m launching an interior design business. I’ll always be an actor — I love acting — but I think there are parallels with the two professions: You inhabit a character the way you inhabit a space.”
Whenever Ms. Rodriguez is in a Broadway present, for instance, she paints and furnishes her dressing room, then leaves all of it behind for the subsequent presumably grateful trouper. During the “Daybreak” shoot in Albuquerque, whereas a few of her castmates opted for luxurious residences, she went for an adobe home, moved all of the furnishings into one room and outfitted the remainder of the rental to her personal style. “I have a passion for beautifying,” she mentioned.
Ms. Rodriguez was solid in her first Broadway musical, the short-lived “Good Vibrations,” in 2005, whereas she was an undergrad at New York University. The roles that adopted enabled her to purchase a tiny studio condominium in Chelsea. She held onto it for seven years earlier than promoting in 2017 and shopping for the sunny, high-ceilinged condominium in Harlem, and shifting there together with her boyfriend. (The relationship has since ended.)
The house, virtually 900 sq. toes, put an finish to ever so fastidiously maneuvering round this object or that piece of furnishings, a lot part of life in Chelsea.
“Things fit, and that’s been a big upgrade for me,” mentioned Ms. Rodriguez, who has renovated the toilet, including a Japanese bathroom (“it is so civilized,” she mentioned), and changed a number of bifold doorways. The washer and dryer are actually hid by an previous sliding door from a piano manufacturing unit. “I love that it’s a little stained and has a patina,” she mentioned. The entrance closet has a carved Moroccan door.
Of course, now that Ms. Rodriguez is the condominium’s sole occupant, her wants are the one ones that should be addressed, her sense of favor the one one which should be accommodated. “I can explore the space in a new way,” she mentioned.
Inspiration for the do-over got here throughout the “Halston” shoot. She had at all times considered the 1970s because the Dark Ages of design: shag carpeting and a baffling celebration of orange. But whereas on set she found a extra stylish side of the last decade, an aesthetic that was glamorous and tactile, tidy and streamlined, monochrome and luxe.
“I remember thinking, ‘This is my style,’” mentioned Ms. Rodriguez, who dedicated totally, even shopping for into the discrete charms of fluffy rugs.
“My apartment is an homage to Halston and Liza,” Ms. Rodriguez mentioned. “I wanted it to feel like the place you go after the party where you danced all night long. That was Halston’s townhouse — the swinging place to be.”
At Chez Rodriguez, revelers at some post-pandemic, wee-small-hours gathering will disport themselves on the tufted, off-white-velvet couch, lie on the off-white shag-wool space rug or lean towards the sculptural, camel-colored Ultrasuede poufs. Paintings by Keren Toledano hew to the room’s restricted colour palette. Overhead lighting and sconces have been not too long ago put in; they’ve been outfitted with Philips Hue bulbs, “so I can choose different colors to set different moods,” she mentioned.
The floating white-lacquer wooden shelf in the lounge shows the constructing blocks of an artsy jet-set life: a copy classic file participant, retro barware, a purposeful classic Polaroid digital camera, a bowl of international foreign money and an ashtray full with a “Halston” prop cigarette.
The condominium’s second bed room embodies the extra glam, anything-but-neutral aspect of the ’70s. She painted the partitions plaster-pink, and there’s an arrogance desk, a rust-colored velvet bench and — hi there, Studio 54 — a rust-colored disco ball.
The house has been fastidiously thought out, from the entryway — classic steel chair slung with a shag cushion; mirror with white-plaster body — to the corners of the room, “where people can sit and hang, and feel fabulous,” Ms. Rodriguez mentioned.
“I want everything to feel very much of a piece. I am curated. I am meticulous,” she added firmly. “I am not eclectic.”